JOURNAL S T U D I O A R T Q U I LT A S S O C I AT E S 2021 | Volume 31, No. 2
I N S I D E : A R T I S T S P AT B U D G E & K E V I N W O M A C K • VIRTUAL EXHIBITIONS • ILLUSION OF REALITY TH ROUG H C O LO R • S UC C ESSF U L BO O K W RITI N G T I PS • I N S P I R E D • M E M B E R G A L L E RY • M U S I CA ! • J U RI E D A RTI ST S H OWCAS E • M I DW EST V I E WS
IN THIS ISSUE FEATURE ARTICLES:
Featured Artist: Pat Budge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 How to be a successful book author . . . . . . . . . . . . . . . . . . . . . . . . . 17
BOARD MEMBERS
Hone representational art with color magic. . . . . . . . . . . . . . . . . 22
Deborah Boschert
Profile: Kevin Womack. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
VICE PRESIDENTS
PRESIDENT
Lewisville, Texas
Dolores Miller
COLUMNS:
San Jose, California
Editor’s Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
San Jose, California
Thoughts from the president. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Gwyned Trefethen
Inspired by determination: Sandra Bruce. . . . . . . . . . . . . . . . . . . . 39
Mel Beach
TREASURER
Cohasset, Massachusetts SECRETARY
Jayne Gaskins
GALLERIES:
Reston, Virginia
SAQA Global Exhibitions: Musica! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Member Gallery: Along Came A .... . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Juried Artist Showcase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Regional Exhibition: Midwest Views. . . . . . . . . . . . . . . . . . . . . . . . . 34 SAQA NEWS
SAQA board appointments. . . . . . . . . . 5
Holly Brackmann Ukiah, California
Earamichia Brown McKinney, Texas
Jette Clover Lier, Belgium
Shannon Conley Moore, Oklahoma
Vivika DeNegre
Guilford, Connecticut
Carolyn Ducey
Lincoln, Nebraska
Curate a SAQA Virtual Exhibition . . . . . 14
Merion Station, Pennsylvania
In Memoriam. . . . . . . . . . 38
Chalgrove, United Kingdom
Cynthia Friedman Claire Passmore Candice Phelan
Wellington, Florida
ON THE COVER:
Jenny Knavel Lilies: Eclipse
34 x 34 inches | 2018 From Midwest Views
Sara Trail
Antioch, California
Maggie Vanderweit
Fergus, Ontario, Canada EXECUTIVE DIRECTOR
Martha Sielman
Hebron, Connecticut
QUICK NOTES
To find out more about SAQA, contact Martha Sielman, executive director, by phone at 860.530.1551, or by email at execdirector@saqa.com. Explore varied resources on our website at www.saqa.com. Annual membership levels for U.S. and international members, listed in USD, are: Artist/Associate, $80; Juried Artist, $145; and Student, $45 (must present full-time student ID). Studio Art Quilt Associates, Inc. (SAQA) is a nonprofit organization whose mission is to promote the art quilt. Through exhibitions, resources, publications, and membership, we seek to increase appreciation for the art quilt as a fine art medium and to support our members in their artistic and professional growth.
SAQA JOURNAL EDITOR
Diane Howell
Chandler, Arizona DESIGNER
YellowDog
Denver, Colorado
Go Green!
The SAQA Journal is published four times a year. To submit articles or story ideas, contact Diane Howell, SAQA Journal editor, at editor@saqa.com. Review submission guidelines at www.saqa.com/journal-submit. For delivery questions, contact circulation@saqa.com.
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• SAQA Journal • 2021 | No. 2
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EDITOR’S NOTES
Maybe we all just need a spa day by Diane Howell
representational art. Whew! Turns
The issue concludes with our
out, it takes a lot of planning to
Inspired column, which showcases an
look natural. In her article, Michaud
upbeat artwork by Sandra Bruce. It is
presents four challenges to solve,
a portrait of Yayoi Kusama, a distinc-
the first being how to make an
tive artist who is herself an inspira-
object appear pure white. What’s
tion. Read about both the quilt and
the answer? You might say that only
the artist who inspired it on page 39.
I can remember when true upheaval
The Shadow knows. Turn to page 22
in my life was a spelling change I
to see the solution.
The artwork on this page was plucked from entries to the two-page
hadn’t instigated. For quite a while, I
This issue also brings you two
Member Gallery: Along Came A … .
questioned whether to go along with
artist profiles: Pat Budge of Idaho
I had a run-in with a machine that
the trend to spell “ok” with two let-
and Kevin Womack of Virginia, on
looked just like this beast before I
ters or just continue on with “okay.”
pages 10 and 30, respectively. And in
treated it to several spa days. I hope
I’m sure you were similarly con-
addition to our usual three galleries,
the piece gives you a laugh, as it did
flicted—how could you not be?
we have added a regional exhibition,
me. How could it not? You can see
Midwest Views, which hails from
pieces selected for this theme on
my mind if I’m okay with ok. But
the Illinois & Wisconsin region. See
page 20.
I am definitely all right with this
selections from this traveling exhibi-
issue’s lineup of stories.
tion on page 34.
Truth be told, I’ve never made up
That’s all the room I have this time. Until next issue, okay? ■
Let’s first consider Lilo Bowman’s article on how she approached the task of writing her book, Love Your Creative Space, for C&T Publishing. Should you decide to create a tome of your own, you will want to know how Bowman met hard deadlines on the way to a successful finish. What
Lena Meszaros
Revenge of the Sewing Machine (White Dragon)
43 x 45 inches | 2018
Photo by Flavia Raddavero
was one of her first steps? She created a nurturing space in which to write. On page 17, learn where Bowman, editor-in-chief at TheQuiltShow.com, settled in to keep her daily appointment at the keyboard. Next, let’s foreshadow the approachable concepts found in Kestrel Michaud’s article on how to select hues to accentuate reality in
SAQA Journal • 2021 | No. 2 •
3
THOUGHTS FROM THE PRESIDENT
SAQA Trunk Show promotes art quilts in diverse settings by Deborah Boschert
You know those tools that have sev-
SAQA gives our members many
in Maryland years ago. We sat in a
eral flip-out features that can be used
opportunities to exhibit or donate
big circle and passed around each
in all kinds of situations? They seem
artwork, but the Trunk Show is
piece, admiring all the details and
to be good for everything. SAQA’s
unique. It is different from the Ben-
reading the artist statements. Then
Trunk Show is our multitool! It is an
efit Auction, which comes around
we did an insightful exercise that
excellent project that helps us achieve
every year and is a fundraiser for
gave us experience in critique and
our mission to promote the art quilt
our organization. It’s also different
how to describe art.
in many ways.
from the Spotlight Auction, which
Trunk Shows have been exhibited
occurs as part of our annual confer-
at local libraries, shared with school
of 10 x 7-inch art quilts made
ence. And it’s different from our jur-
kids, displayed at quilt guilds, and
and donated by members that are
ied exhibitions, because we accept
included as programs for developing
mounted on a black backing board
all submissions. The Trunk Show is
artists.
and packaged in plastic sleeves. The
special because its goal is to allow
collection exhibits an enormous
many people to experience art quilts
art quilt for the next Trunk Show.
array of materials, techniques, and
in an up-close and personal way. It
We’re eager to see your work! We
styles. The submissions are divided
is an excellent tool for education
welcome all entries whether you’re
into “trunks,” and these collections
and outreach.
an award-winning, longtime artist
The trunk show is a collection
travel all over the world to various
We displayed several of the art quilts
Please consider submitting a small
or a new member just beginning to
groups. The trunks are shared, used,
from the last Trunk Show at the SAQA
explore art quilts. All techniques are
displayed, and explored in many
booth in Austin at QuiltCon in Febru-
welcome—piecing, appliqué, digital
different ways. Each Trunk Show
ary 2020. It was so fun inviting people
imagery, handwork, painting, embel-
runs for three years, and then the
into our booth to look more closely
lishment, surface design, collage, or
quilts are sold in the SAQA online
at the tiny works of art. Many visitors
any other method you use to create
store with proceeds shared between
spent time examining the details and
a piece that fits SAQA’s definition of
SAQA and the artist. (Did you have
trying to wrap their minds around the
an art quilt. That definition is “a cre-
a chance to buy one in February?)
idea that these small pieces of art could
ative visual work that is layered and
This project has been ongoing for
be called quilts. I enjoyed several inter-
stitched or that references this form
more than ten years, and we’ve just
esting conversations about the precise
of stitched layered structure.”
wrapped up another three-year cycle.
stitching, beautiful colors, and unex-
That means we have the opportunity to build another Trunk Show and your work can be included!
4
• SAQA Journal • 2021 | No. 2
pected combinations of materials. I also had the opportunity to view a Trunk Show at a regional meeting
Submissions are due September 30; they will travel through December 2024. You can find all the details at saqa.com/trunkshow. ■
SAQA NEWS
Future president, new board appointments announced
Mel Beach At its annual retreat, the SAQA Board
Claire Passmore We also welcome two new mem-
Jette Clover Subcommittee charged with look-
of Directors elected Mel Beach to
bers to our SAQA Board of Directors,
ing at ways for SAQA to collaborate
be the next board president. Her
Claire Passmore and Jette Clover.
with artists in other media, such as
term will begin in April 2022 at the
Their long involvement with the art
the upcoming collaborative exhi-
conclusion of our annual conference
quilt movement is a valuable asset to
bition with the National Basketry
in St. Petersburg, Florida; she will
SAQA, and we are fortunate to have
Organization.
succeed current president Deborah
them serve SAQA in this capacity.
Boschert. Mel will serve as co-vice
Jette Clover
president alongside Dolores Miller
Claire Passmore
Lier, Belgium
until next year’s conference ceremony.
Chalgrove, United Kingdom
Jette is an art quilt and mixed media
Claire is a British artist whose
artist who draws much of her inspira-
and is a member of the Special
stitched textiles are exhibited
tion from a love of writing.
Events and Education commit-
internationally. In addition, she has
She was born and raised in Copen-
tees. She is the organizer for SAQA
numerous pieces held in private and
hagen, Denmark, but for many years
Summit in San Diego, which is now
corporate collections.
lived and worked in the United
Mel lives in San Jose, California,
planned for September 2022. She
Throughout her life, Claire has
has recently joined the Education
been a professional teacher, working
Committee and organized a Special
with young children, teens, adults,
Interest Group based on profes-
and young refugees. She teaches a
textile gallery in Los Angeles, being a
sional development, social media,
variety of art quilting techniques, and
curator at the Dutch Textile Museum
and building a successful website.
in 2019 was invited to be a presenter
for more than ten years, and organiz-
She also has just taken on the role of
and tutor at the 5th International
ing the first European Art Quilts exhi-
chair for a study group charged with
Quilt Symposium in Shaoxing, China.
bition in 1997. She realized she missed
making recommendations to the
She is a founding member of the
making her own artwork, and in 1998
board about future virtual confer-
bilingual art textile group Six Dames
ence events.
as well as a number of other groups
Mel brings thoughtful, dedicated leadership to the board in addition to her enthusiastic love for art quilts.
States and the Netherlands. Since 2005, she has lived in Belgium. Her background includes opening a
became a full-time studio artist. Jette has exhibited and taught in
and organizations. In 2017, Claire
the United States, Europe, and Aus-
became a SAQA Juried Artist member.
tralia. She has been a SAQA member
Claire has joined the Exhibition
since 1998, and served as the Europe
We are excited for her role in SAQA’s
Committee and will be the chair
& Middle East regional rep from
future growth and development.
for the Innovative/Collaboration
2005-2008. ■ SAQA Journal • 2021 | No. 2 •
5
Momentary Connections by Alice Beasley
Our Stories Bring Us Together as a Community Our creative SAQA community holds us together. Your gifts to SAQA tell a story of how much you value this community. And we need your help to keep that narrative moving forward. Your generosity will make an incredible difference this year because SAQA’s exhibitions are on the move again! Our art quilts, exhibited across the globe, tell the story of an art form that is vibrant and compelling.
Please give today! www.saqa.com/story 6
• SAQA Journal • 2021 | No. 2
Gateway Canyons Presents
ALEGRE RETREAT 2021
A 2021 Change of Date!
An Annual Art Quilting Conference ~ November 14th-19th 2021 Featuring Renowned Fiber Artists:
Jacquie Gering | Jean Wells Keenan | Laura Wasilowski | Katie Pasquini Masopust
Alegre Retreat is an escape from everyday life for art quilters to come together to learn and share their expertise. Join us at Gateway Canyons to study with one teacher for five days and hear lectures from all. The conference will feature Jacquie Gering’s class, “Composing with Line”; Jean Wells Keenan’s class, “A Sense of Place”; Laura Wasilowski’s class, “Fuse-Design-Stitch”; Katie Pasquini Masopust’s class, “Jumpstarting Your Creativity”. To Register: 505-470-5202 or katie505@gmail.com|43200 Hwy 141|Gateway, CO More Information: www.alegreretreat.com | www.gatewaycanyons.com
art quilt quarterly art quilt quarterly Studio Art Quilt Associates
Studio Art Quilt Associates
Issue No. 20
Issue No. 17
Art Quilts in Mexico
Art quilts in Norway Racine Art Museum
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Katie Pasquini Masopust
The Renwick Gallery
Cloth in Common
Craft in America
128
Sales at the Houston
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120
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art quilt quarterly Studio Art Quilt Associates
Issue No. 18
art quilt quarterly Studio Art Quilt Associates
Issue No. 21
Notes from a gallerist Lucille Packard Children’s Hospital
Women’s Voices, Women’s Votes SAQA’s Ebb and Flow
128
art quilts
SAQA’s quarterly publication designed for collectors, arts professionals, and admirers of art quilts everywhere!
Subscribe today! SAQA members receive $5 discount
Fiberart International Art quilts in South Africa Focus on commissions Artists to watch
103
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www.saqa.com/aqq SAQA Journal • 2021 | No. 2 •
7
Kacey Cowdery
Music of Morse
60 x 20 x 18 inches | 2018 Photo by Carl Valle
Selections from
Musica! Pablo Picasso said, “To draw, you must close your eyes and sing.” Musica! is SAQA’s celebration of music with a visual twist. Both music and art elicit emotions, create different moods, suggest movement, and can reflect light, depth, and color. Over time many artistic practices and processes have been shaped by sound and visual expression. The boundaries between music and art blur, as one becomes inspiration for the other. Musica! was juried by Joe Cunningham. The exhibition benefactor is Frank Klein. Visit www.saqa.com/musica for details on upcoming venues.
Sue Sherman
Listen for the Music
30 x 38 inches | 2019
8
• SAQA Journal • 2021 | No. 2
Marian Zielinski Midnight Jazz
34 x 34 inches | 2019
Laurie Bucher About Face
60 x 52 inches | 2018 Photo by Gloria Plascencia
Nancy Bardach Sinfonia Plus
56 x 50 inches | 2018
Suzanne Noonan
Pianoforte
43 x 37 inches | 2019
SAQA Journal • 2021 | No. 2 •
9
FEATURED ARTIST
Pat Budge works at the design wall in her studio.
Pat Budge Abstract shapes ‘dance’ freely in colorful work by Cindy Grisdela
Pat Budge began her quilting jour-
Collection. “I was quite drawn to
ney in the 1990s wanting to fill wall
the role that solid fabrics played in
space in a new home. She thought
defining edges and to the 90-degree
she’d be able to buy a large wall quilt,
angle.”
but quickly discovered that if she
style. The lime green shapes seem
it herself.
to dance across the composition,
That quilt never got made, but
81 x 81 inches | 2017
10
• SAQA Journal • 2021 | No. 2
anchored by darker values. Hard lines
Budge learned to sew and decided that
are softened by curves, and the light
quilting was more interesting than
areas create a sense of depth.
the other crafts she had dabbled in:
Willow (Chance Panel Project)
Her piece Willow typifies Budge’s
wanted one, she would have to make
Budge pieces her compositions on
weaving, cross stitch, needlepoint,
a Janome 6500 sewing machine and
and crochet. “I like to keep my hands
quilts them on a Janome Continen-
moving and I like the feel of materials
tal M7. She is a full-time artist, and
in my hands. So assembling fabric into
spends her days working in her stu-
wall quilts satisfies those two things.”
dio, a two-story addition to her home
Budge’s work is inspired by geo-
in the mountains of Idaho. The main
metric shapes, hard edges, and a
floor houses her sewing machines,
contemporary alphabet system
her 30-foot design wall, cutting area,
developed by French painter Auguste
and fabric storage. It looks out over
Herbin, who was active in the early
the mountain landscape, and some-
20th century. When she first began
times wildlife wanders by as she
quilting, her mom gave her a book
works. The lower floor has storage
on Amish quilts from the Esprit Quilt
space, plus three sets of sawhorses to
Reconciliation (Chance Panel Project)
Last Rites (Chance Panel Project)
80 x 78 inches | 2018
82 x 80 inches | 2016
hold the oversized wooden panels she
and new arrangements she wants to
where planned chance informs the
uses to baste and trim her creations.
try. For 2019, her theme was breaking
arrangements of the panels.” She used
She shares her creative workspace
trust; in 2020 it was aloneness, even
geometric images that were chopped
with her husband, a fly fisherman,
before she knew the pandemic would
up and rearranged, plus stylized let-
who makes fly rods.
create that very state of being.
ters and straight- and curved-edge
This work area is a considerable
“I don’t wait for a muse to show
repetitive units.
upgrade from her first space in the
up, or for some inspiration to get me
Reconciliation is an example of a
laundry room, where she sewed
going each morning.” She finds that
Chance Panel work, and combines
standing up and her counter doubled
working leads to more work, and says
large purple and gray shapes with
as the surface to fold clothes. Budge
that she thinks best when her hands
smaller, more colorful straight-edged
says she enjoys being able to spread
are busy. That is why she shows up
elements. “I think of this work as not
out and do different tasks without
every morning and begins. She works
only a collage of different imageries,
having to put something away first.
all day and sometimes for a few hours
but a collage of, or mash-up, of my
Budge manages her workflow
in the evening, creating compositions
memories,” Budge says. “I remember
methodically. She decides on an
during the day when she feels at her
the shapes and colors of landscapes,
annual theme, along with how
best, and either quilting or work-
conversations with friends and fam-
many pieces she wants to make, the
ing on more mundane tasks at other
ily, song titles and lyrics, book titles,
color palettes she wants to explore,
times.
and anything else that enters my
and the imagery she wants to
Most of Budge’s recent work falls
consciousness. The finished pieces
include. Those decisions are made
into two main series that involve cre-
represent my merged memories in a
by January 1 each year. Throughout
ating small components and building
geometric manner.”
the year, she thinks about and keeps
them into larger units. The Chance
Another example is Last Rites. This
notes on what works in her composi-
Panel Project comprises twelve large
large quilt measures nearly 82 inches
tions, changes she wants to make,
quilts, each “composed of panels
square and was juried into Quilt SAQA Journal • 2021 | No. 2 •
11
Be Like a Stranger (Grids series) 69 x 66 inches | 2020
Confluence (Grids series) 70 x 39 inches | 2019
National 2017. Soft pastel shapes with
components and scraps from previous
more I’ve relied on chance, the more
curved and straight edges combine
work. Budge likes the idea of giving
intentional my work has become.”
with the rectilinear units of the
new life to these units. This series is
Budge uses commercial solid fabrics
middle panel created in a palette of
ongoing, with ten pieces created in
in her quilts, and having a wide range
red, gold, black, and green. Lighter
each of the last two years.
of color choices is important in her
values give depth to both sections.
Another Grids quilt, Confluence,
The second series is called Grids,
work. “The modern quilt movement
employs a color palette of brown,
was a blessing, because the number of
and is made up of small repetitive
gold, red, and gray. In this example,
solid fabric lines really exploded.” She
units. “The grids are separated by
there are fewer large areas of color
uses Aurifil 50-weight cotton thread
various forms, informed by chance
and a staccato feeling comes through
for piecing and quilting. “Over time,
for color choice and placement, with
in the small geometric elements.
I’ve bought the whole color line,
an eye toward visual and structural movement within the piece.”
In both series, Budge uses what she
because I blend thread color with the
calls planned chance games as an
color of the individual fabrics being
improvisational tool to make deci-
quilted.” She often quilts in straight
series. Although the piece makes
sions about color and element place-
lines to add texture and dimension
use of yardage, it also includes
ment. “The strange thing is that the
without competing with the design.
Be Like a Stranger is from the Grids
12
• SAQA Journal • 2021 | No. 2
Pat Budge stands with her piece, My Merry Men, at the opening of Color Improvisations 2 at Museum Tuch + Technik in Neumünster, Germany. Budge regularly shares her work through exhibitions. Her pieces have been in Quilt National six
for me to share work is to first have work available.” Budge’s advice to art quilters starting
times, including the 2021 iteration.
their own quilting journey is to “set up
Her work has also been exhibited in
a studio practice and make consistent
Art Quilt Elements, Quilts=Art=Quilts,
progress a priority.” She also encour-
Form Not Function, and Color
ages a focus on skill in composition
Improvisations 2, curated by Nancy
and design, in addition to learning new
Crow. This last exhibition included
techniques. “Developing work that is
Budge’s My Merry Men; it opened
authentic to me as an artist took me
in Europe in 2016 and traveled to
years [to accomplish], and I know no
various North American venues into
way of short circuiting that process.” ■
2020. Despite this exhibition schedule,
Cindy Grisdela is a SAQA Juried Artist
Budge rarely makes work specifically
who resides in Reston, Virginia. You can
for a call for entry. “The best strategy
view her work at www.cindygrisdela.com.
SAQA Journal • 2021 | No. 2 •
13
Virtual Gallery program expands exhibition, curator opportunities by Vivien Zepf
SAQA’s standalone Virtual Gallery program is a round-the-clock art experience designed exclusively for online viewers. With its popularity already proven, this series of themed exhibitions helps promote the art quilt as a fine-art medium to the general public. The first exhibition, No Limits, was coordinated by the Virtual Gallery committee and debuted last year with our new website. The exhibition was designed to demonstrate the variety of works that can comprise this format. Going forward, this visual experience will be predominantly developed, juried, and curated by a SAQA member or team, aptly called volunteer curators, who submit applications to create their own exhibitions.
Wendy Hill Configurations, from No Limits
3 x 14 x 14 inches | 2019 Photo by Gary Alvis
SAQA member Susan Else, who helped bring the Virtual Gallery program to life, says: “Although SAQA’s Exhibition Committee is extremely responsive to member preferences and desires, it is an organizationto-member system. In other words, the committee creates exhibits that they think our members will want to enter. In the Volunteer Curator program, members themselves create the exhibits that they want to see.” The first volunteer coordinator was Katherine Wilson, who developed Waiting, which she describes as a common situation in our daily lives. During 2020, the Covid-19
Linda Steele Firelight, from Impressions of Oceania From Around the World 25 x 38 inches | 2015
14
• SAQA Journal • 2021 | No. 2
pandemic and other international crises gave new insight into her theme, and some of the accepted art quilts reflected the tense
Mary Lou Alexander Ice Age, from On the Edge 49 x 30 x 4 inches | 2020 Photo by Joseph Rudinec
Regina V. Benson Corporate Transparency, from Room with a View 34 x 25 inches | 2016 Photo by John Bonath
atmosphere. Wilson’s juror’s state-
Attinger, who curated Plurality of
ment says: “As I had hoped, several
Voices, a showcase of work from
submissions addressed some of the
their region, Europe & Middle East.
large global and national issues
On the Edge was juried by Petra
of the day, like the pandemic in
Fallaux.
Unprecedented and Waiting to Fly,
To become a Volunteer Curator,
immigration in Mother of Exiles,
previous curating experience is not
American citizenship in Waiting
required. The first step is to submit
for…, climate change in The Colours
an application that describes your
of Nature, and world peace in
idea, why you believe it will appeal
Wouldn’t it be Nice.”
to the broader SAQA community,
Several other volunteer curators have already created exhibitions,
and why you are well-suited to curate that particular theme.
including: Dr. Sandra Sider, who
Before an application is presented
curated Room with a View; Judith
to the Virtual Gallery committee for
Martin, Daren Pitts Redman, and
consideration, the Volunteer Coor-
Susan Lenz, who formed a team to
dinator team works with applicants
curate Land Art; Australians Jenni-
to ensure their application fully
fer Bowker, Sue Dennis, and Susan
articulates their curatorial vision
de Vanny, who curated Impressions
and the appeal of their theme,
of Oceania From Around the World;
which becomes the basis of the call
and Claire Passmore and Geneviève
for entry.
Judith Content Wrack Line (After the Storm), from Land Art: From the Forest to Your Balcony
9 x 2.5 feet | 2020
SAQA Journal • 2021 | No. 2 •
15
Katherine Wilson shares curator experience Katherine Wilson, the first volunteer curator in the Virtual Gallery program, had always thought about curating or judging an art quilt exhibition. “When the opportunity to volunteer for a virtual SAQA gallery exhibition first appeared, I responded immediately! I have entered juried competitions for years, and wanted to experience ‘the other side,’ if you will.” For her, the most interesting aspect of curating was creating the theme. “It was important that the theme be generic enough to apply to everyone and also generate a diverse artistic response. Globally, we were going through a period where waiting was not only more impactful, but normalcy and our realities had changed. I felt the theme would provide a much-needed outlet for SAQA members to address what we all were experiencing.” The theme was definitely clear to entrants. Wilson says she got exactly what she wanted and anticipated from those who submitted entries. “I believe SAQA members look for, and enjoy, the different opportunities the organization offers for creative expression. I know that is an aspect that appeals to me,” she says. “When you think about the enormous creativity among SAQA members, it was important for me to create a theme that would engage their imagination. I looked at my own journey and my reaction to calls for entries that I personally perceived as too limiting. As a curator, I wanted to generate and motivate a diverse response where unique voices and creativity had full reign.” She advises others who want to curate a virtual exhibition to apply. “Try it! The theme and selection of art are totally yours, but you do not have to oversee every detail of the event. SAQA is your partner and takes care of the oversight and logistics. This experience helps you grow. I can honestly say that I better understand the difficulties curators and jurors face when they have a tremendous response and limited numbers of entries they can select.” As curator, Wilson also picked up tips for entering a SAQA exhibition. She says she can emphasize how important composition and descriptive words are. Also, “craftmanship is critical, and photos matter.”
The basic role of volunteer curators
exhibition on a frequent basis. Sarah
is to develop an exhibition concept or
Entsminger, who co-chairs the SAQA
theme; create an enticing call for entry;
Global Exhibition and the Virtual
answer questions from members; build
Gallery committees, points out that
a compelling exhibit from the chosen
the Virtual Gallery program is perfect
images and statements submitted; and
for showing work that is too fragile
write a curator’s statement. Develop-
to ship or otherwise not suited to
ment of a virtual exhibition frees
global exhibition venues.
curators from such brick-and-mortar
Lena Meszaros Heritage, from Plurality of Voices 48 x 33 inches | 2020
been described as creating a single
ing design. They craft a visual narrative
work of art from many individual
that comes to life as one image flows
components. The Volunteer Cura-
smoothly into the next.
tor program provides a professional
The online exhibitions can be
development opportunity while it
global or regional in scope. Global
empowers members to create their
exhibitions have themes with broad
own artistic expression. To learn more
appeal to our worldwide membership.
about becoming a volunteer curator,
Regional exhibitions have to limit
visit www.saqa.com/virtual gallery. To
entries to a particular area. Plurality of
learn how to enter work into a Virtual
Voices covers a breadth of nationalities
Gallery, visit www.saqa.com/calls. ■
and cultures, and the viewpoints from this region are illuminating to those outside the region. Due to the nature of an online gallery, SAQA can host a new
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• SAQA Journal • 2021 | No. 2
Curating an exhibition has often
issues as available wall space or light-
Vivien Zepf, a writer, photographer, quilter and museum docent, is co-chairman of the Virtual Gallery committee.
PROFESSIONAL DEVELOPMENT
Successful writing requires keeping your eye on the finish line by Lilo Bowman It’s been said that writing a book, like
contact list to important due dates,
running a marathon, is gratifying,
formatting, pattern-writing tips,
but tests your ability to hang in there
photo releases, image logs, con-
until you reach the finish line.
tent checklists, and a host of other
Your race—your book project—as an author begins with an idea. In
information. Speaking of due dates, one of the
my case, my concept was based on a
first discussions I had with the pub-
yearlong blog project I produced on
lisher concerned the book release date.
quilt studio organization. In 2018, an
The release date determines the timing
offer from C&T Publishing to write
for all other important milestones in
Love Your Creative Space stopped me in
the book’s life: sample chapter, first
my tracks. Would I be up to the task?
draft, second draft, final draft, and
Could I maintain the pace? Would I
final package. It is a selection that
be able to clear my busy calendar of
should not be taken lightly. Selection
anything and everything that might
of this date is also a financial deci-
keep me from the project? Would
sion—if you don’t deliver on time,
my family understand that this book
there can be monetary headaches.
would be a priority? The answer to all
I had to plan to write the book off-
of my questions was yes! I told myself
the-clock from my day job as editor-
I could do it if I wanted it badly
in-chief/production manager for
enough—even if it meant dragging
TheQuiltShow.com. I suggest that you
myself out of bed before the crack of
look ahead on your calendar for the
Lilo Bowman’s book, Love Your Creative Space, shares tips, tricks, ideas, and visual images to help others find a solution to keep their ‘stuff’ under control and accessible.
dawn to pound the keyboard.
next two years to make an informed
Photo by C&T Publishing
Real commitment Once I said yes to C&T Publishing, the
decision on when you will be able to meet the publisher’s due dates.
seriousness of our relationship quickly
Writing process
became evident. A behemoth docu-
I’m a planner by nature, so my first
ment titled Author Guidelines arrived
inclination was to research how suc-
in my inbox a few days later. A friend
cessful writers maintain their pace
who is an experienced C&T author sug-
over the long haul. I found three sug-
gested that I pour myself a glass of wine
gestions mentioned again and again.
before I dove into the details. I much
The overarching idea from various
prefer paper to a screen, so I printed
authors is to write at the same time,
out the document and dove in one
in the same dedicated place (without
afternoon, armed with a highlighter,
distractions), every single day, with-
sticky note flags, and a glass of wine.
out fail, including weekends. Begin
I can’t stress enough how valu-
each day by simply writing something
able this guideline came to be. As
down. What comes out in the begin-
the months unfolded, I found all of
ning is truly terrible. Keep writing;
Lilo Bowman
the resources to be handy, from the
don’t stop. It is this act of continually
Photo by David Fitzgerald
SAQA Journal • 2021 | No. 2 •
17
The desk in Lilo Bowman’s office became her designated writing spot. Photo by David Fitzgerald
Sticky notes provided a visual checklist as Lilo Bowman completed her book project.
writing that slowly engages the brain,
ungodly hour of 5 a.m. gave me three
reworking, backing up and saving
and soon, like a marathon runner,
solid hours of writing time before my
everything was a must! No one wants
you fall into a rhythm, and the words
usual workday. Waking up that early
to waste precious time rewriting an
begin to flow. Repeating this process
was definitely not easy nor fun, but
entire chapter, or ten, due to unfore-
at the same time of day and place
after a month, it became less difficult.
seen document loss.
becomes a habit. You are training
Early on, I tried writing at the kitchen
the brain to know when it is “writing
table, but found I was too distracted
extensively early on (images, com-
time.” Day, time, and place became
watching critter activities in the yard.
pleted chapters, release forms, etc.),
my mantra. Some days you will find that the
I found that my place to write
I’m a folder girl, which I used
but I also took advantage of a spread-
needed to be at my desk in my home
sheet program to organize specifics
writing is fantastic; other days, not
office. Quiet and unfamiliar classi-
that came into play later in produc-
so much. The idea is to just keep at
cal Italian lute music offered a calm
tion (image log, image captions, prod-
it. Pretty soon ideas begin to formu-
atmosphere, while sticky notes on
uct titles, index, references, etc.).
late, sentences become paragraphs,
the wall in front of the desk pro-
and paragraphs become chapters. My
vided visual reminders. Artist Libby
the way? Absolutely! There were
method was to knock out the easiest
Lehman once mentioned the joy of
things that I would do differently
chapters first rather than work from
pulling sticky notes off a to-do list
now, such as getting product titles
the front to the back of the book. I
wall. I can attest to that same sense of
listed correctly on the front end,
saved the more complex sections for
satisfaction as I watched the alarming
rather than using a shorthand name.
when I was in a real writing groove.
number of notes slowly dissipate over
I also would have used the publisher’s
the weeks and months.
number coding system for all of my
With a day job to work around, freeing up as much time on the
Were there lessons learned along
selected images from the get-go. But
calendar as possible was paramount.
Catalog everything
Weekends especially offered many
The structured information the
more hours for writing. All personal
publishing house provided, which
projects and big family gatherings at
lived in a binder with reference tabs,
The resulting book
my place were shifted, and my usu-
helped me to corral the vast number
While the vision of the book and its
ally neat and clean house became a
of documents, kept me aware of due
contents are my work, it would not
bit less orderly. As a morning per-
dates, and avoided the frustration of
have been as effective without the
son, I found that waking up at the
having to rework areas. Speaking of
generosity of numerous artists who
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• SAQA Journal • 2021 | No. 2
on a whole, the system I used worked well for me.
generously shared images of their
I was asked recently,
studios and companies that sent either
“What is your favor-
products to photograph or provided
ite part of the book?”
requested images. The C&T produc-
The short answer is
tion team was very open and asked for
the entire book! But,
my input along the way. They sought
if I had to select an
my preferences on colors, style, and
area that has me most
layout ideas. Hundreds of books have
excited, it would be the
come across my desk over the years,
chapter titled Adapting
as an editor and former event planner.
for Greater Accessibility.
This has offered me the opportunity to
Physical changes, due
view color combinations, trends, and
to accident, stroke, or
layout styles. I must have taken these
diminishing eyesight,
factors to heart, as the color palette
don’t necessarily mean
I wanted was primarily a saturated
your days of creativity have come to
It was hard, and did require seemingly
and fairly tight combination of red,
a screeching halt. There are work-
endless hours, but was it worth it?
orange, turquoise, yellow-green, and
arounds that can be implemented
blue against a white background.
into any studio situation. Will you
Keeping the selected colors within a
be able to work at the same level as
specific group provided consistency
before? Maybe not. But wouldn’t you,
tion manager at TheQuiltShow.com. By
throughout the book. Using the same
like Matisse and Freddie Moran, want
turns, she has been a floral designer,
colors for the layout created the conti-
to enjoy the fun of creating well into
translator, tour guide, wedding planner,
nuity I wanted to offer the reader.
your later years?
and now a book author.
A white background and bold colors throughout the book create continuity for the reader. I am immensely proud of this book.
Absolutely! ■ Lilo Bowman is editor-in-chief/produc-
SAQA CALL FOR ENTRIES Share your artwork with the world!
VIRTUAL GALLERY CALL FOR ENTRY: September
CALL FOR ENTRY: November
CALL FOR ENTRY: January
1-30, 2021
1-31, 2021
Words Fail CALL FOR ENTRY: July
Legacies
1-31, 2021
CALL FOR ENTRY: September
1-30, 2021
1-31, 2022
For complete details on all exhibitions, visit www.saqa.com/calls SAQA Journal • 2021 | No. 2 •
19
MEMBER GALLERY
Along Came A ...
Elizabeth Altomonte Gettysburg
32 x 66 inches | 2020
Laurel Ostapowich Along Came A Camel 21 x 18.25 inches | 2020
Claire Passmore Who Are You Looking At? III 28 x 41 inches | 2011
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• SAQA Journal • 2021 | No. 2
Kim Laffont Albatross
21.5 x 27 inches | 2020
Mary Louise Gerek Come Into My Parlor
12 x 12 inches | 2014
Iina Alho Felicity
21.5 x 18 inches | 2020
SAQA Journal • 2021 | No. 2 •
21
ART TALK
Create illusion of reality with color choice by Kestrel Michaud
To make objects look “real” using fabric requires three things: an understanding of how light interacts with objects in the world around us; an intimate familiarity with using fabric as a medium; and the knowledge of how to successfully recreate the effect. Over the course of my career, I have repeatedly had to figure out how to work within my own artistic boundaries to achieve desired effects. In this article, I will explain how to recreate four effects that will lend authenticity to your work. Some of my examples include both color and grayscale versions of an artwork to better show the use of hue and value range. All of my examples are made from fabrics that I found in my stash or purchased at a shop and prepared for fused appliqué. The fabrics were simply cut into the required shapes, fused together, and sometimes sewn.
Challenge #1 Make Pure White How to do it: Make an object look pure white by using blue shadows. The reason this works is due to an
Figure 1 Clockwise, details from: Bald Eagles Great Egret 2018 Classy Leap of Faith
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• SAQA Journal • 2021 | No. 2
optical illusion. Our brains perceive shadows cast by objects as blue due to the absence of warm light. It works because light from the sun is warm in color. Objects cast shadows that are colored complementary to the
Figure 2 Includes artwork and details of: Rose 52 x 26 inches | 2018 color of the light illuminating them.
fabric. The egret (top right) looks like
distort the light between us and any
Therefore, objects in warm, gold
a pure white bird, even though all of
given object. This isn’t noticeable
light—such as sunlight—cast cool,
its shadow details are blue. The cat
when standing right next to that
bluish shadows. This visual effect is
(bottom left), on the other hand, is
object, but as we get further away,
most pronounced when the sunlight
definitely a grey cat. Despite having
that object gets more and more bluish
is very warm, such as during a sunset,
white fabric highlights, its shadows
and hazy. This natural phenomenon
and the ground is very pale, such as
are gray, not blue. Lastly, the pale
can be simulated effectively in our art
when fresh snow has fallen.
stripes on the girl’s pants (bottom
with a careful selection of fabric.
This optical illusion also affects
right) look beige because they have
Objects close to the viewer will
shadow detail on an object. This is
beige shadows, unlike the white shirt
have the most vivid color and
why using blue fabric in the shadow
under her vest that has blue shadows.
definition. Use fabrics with bold pat-
detail of a white object makes that
terns—as that detail is also visible up
use any other color of fabric in the
Challenge #2 Create Atmospheric Perspective
shadow detail, such as gray or beige,
How to do it: Simulate atmospheric
Look at Figure 2. The full quilt, titled
our brains would interpret the object
perspective by transitioning distant
Rose, is on the left. In the center,
itself as a different color.
objects to fabrics bluer in hue and
Rose, her metal dog, and the ship she
lighter in value.
is standing on are all made from very
object look pure white. If we were to
Look at Figure 1. The eagle (top
close—and a full range of value, from bright white to the deepest darks.
Atmospheric perspective is an
rich, bold fabrics that have promi-
snow, which looks white despite the
illusion of depth. Dust and vapor
nent patterns, because they are the
snow being made primarily from blue
particles in the air scatter, bend, and
closest to the viewer.
left) is flying over a pristine hill of
SAQA Journal • 2021 | No. 2 •
23
To make objects appear a little further away from the viewer, choose fabrics with a very subtle, if any, pattern—the Grunge line by BasicGrey for Moda Fabrics works well—and a limited range of values. These fabrics should be neither as light nor as dark as the fabrics used for objects that are close to the viewer. Now look at Figure 2, top right. This is a detail view of the airship behind Rose. It’s made from Grunge fabrics, so the patterns aren’t as bold as those on Rose or the dog. It’s also much lighter in value. Even the areas in shadow are lighter compared to those on Rose and the dog. To make objects seem very far away, use only solid fabrics—no patterns at all—that are light blue. These objects should have very little detail, as they are just too far away to be seen clearly. Now look at Figure 2, bottom right. This airship is made from a single piece of solid,
Figure 3 Includes detail of: American Kestrel
light blue fabric, making it seem very far away. Another technique to try is to cover objects in the distance with layers of light blue tulle. Look at Figure 3, top. The brown hills and dark green trees marked by the red and yellow asterisks were made using the same fabrics. However, the hill and trees under the red asterisk are unobscured, whereas the hill and trees marked by the yellow asterisk are under a layer of light blue tulle. Figure 3, bottom, shows a close-up for comparison.
Challenge #3 Simulating Direct Sunlight How to do it: Simulate direct sunlight with three techniques. Maintain a
Figure 4 Includes detail of: Snoozy
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• SAQA Journal • 2021 | No. 2
very large value difference between highlights and shadows, make crisp
cast shadows, and/or give objects a
dog’s paw onto the bottom dog’s
that you can more easily see the dif-
core shadow.
side (blue asterisk). The shadow is so
ference in values. The picture on the
On bright, sunny days, objects in
crisp that the individual toenails can
right is the same quilt, in full-color,
the sunlight have bright highlights,
be seen. These two techniques make
and without the asterisks.
dark shadows, and cast crisp, clean
these dogs look like they are sleeping
shadows on the ground. Bright
in a spotlight.
highlights and dark shadows mean
A third technique we can use to
The core shadow on Link’s nose is the clearest to see; there’s a very distinct line of shadow running down
lots of contrast. Technically speak-
simulate direct lighting is to create
the center of his nose. However, I
ing, we should use fabrics that range
a core shadow. A core shadow is the
also created core shadows on Link’s
from very light in value to very dark
dark band visible where light and
tunic and bow. Look how the dark-
in value, effectively spanning the
shadow meet. It is the darkest area
est shadows of his tunic are in the
full spectrum.
of the shadow, because it is the least
center of his chest, sometimes even
affected by reflected light. Core shad-
touching the highlight. The same
bulldogs have a very large amount of
ows only occur when the environ-
is true of the bow, with the dark-
contrast in the browns. The high-
ment’s light is very bright, such as in
est area of shadow in the center,
lights are a light, yellow-gold (yellow
direct sunlight.
touching the highlight. These core
Look at Figure 4. The sleeping
asterisk) while the darks are almost
Look at Figure 5. On the left, I’ve
shadows make Link look like he’s in
black (red asterisk). In addition, look
marked four core shadows with aster-
very strong light coming from the
at the shadow cast by the second
isks on a grayscale version of Link so
right. That light is also hitting an
Figure 5 Includes detail of: Link (created as unofficial fan art) SAQA Journal • 2021 | No. 2 •
25
object off to the left and bouncing back onto him, which is why the darkest shadows are in the center of his body and items.
Challenge #4 Simulating Overcast Lighting How to do it: Simulate an overcast day by having very little difference in value between highlights and shadows. During overcast days, sunlight is obscured by clouds. Instead of getting lots of contrast like we would on sunny days, there’s very little contrast between highlights and shadows on overcast days. In addition, shadows cast on the ground will be fuzzy and indistinct, not at all like the sharp, crisp shadows present in bright light. Technically speaking, our dark shadows can stay dark, but the highlights should not be all that light. Shadows are an absence of light, so they will continue to be dark even if the light changes. Highlights, on the other hand, get brighter as the light gets brighter. On overcast days, highlights will not reach the brightest end of the value spectrum, and that should be kept in mind when choosing fabrics. Look at Figure 6. It’s a cloudy day in Central Park. The trees are made from five values of green, marked by numbers 1, the lightest, through 5, the darkest. The darkest green in the deep shadowy areas is almost black, but the lightest green is not that much lighter. There are no bright highlights anywhere. Furthermore,
Figure 6 Includes detail of: Central Park Skyline
the shadows under the benches and along the shore, marked by asterisks, are very close in value to the rest of the sidewalk, making them see “Color Choice” on page 36
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• SAQA Journal • 2020 | No. 4
SAQA Trunk Shows Call for Entries Packed with artistic energy, SAQA’s traveling trunk shows showcase our members’ talent as they support our mission to promote the art quilt. Audiences at varied locations around the world explore the nature of art quilts through these small works best viewed up close. All SAQA members may participate by creating a 10 x 7-inch art quilt with finished edges. Each piece will be mounted on a black 12 x 9-inch backing board and sealed inside a clear envelope. Watch the SAQA website for new guidelines to submit 3D pieces! Take this opportunity to share your artwork!
Submission deadline: September 30
More details at: www.saqa.com/trunkshow
SAQA 2021 BENEFIT AUCTION Can’t hardly wait? Our premier fundraising event is just around the corner! From September 10-October 3, bid for your favorite pieces to support SAQA’s programs. Your winning bids help promote art quilts and the artists who make them—and you acquire great art!
Event details: www.saqa.com/auction
Bev Haring Sun Spot
Cathy Kleeman
Fantastical Elephant Ear
Pamela Morris
Sailing Away
SAQA Journal • 2020 | No. 4 •
27
JURIED ARTIST SHOWCASE
Juried Artist Showcase is a gallery of work produced by artists who have each been named a Juried Artist of SAQA. A Juried Artist has successfully presented a portfolio to the Juried Artist Review Panel. This portfolio includes a selected body of work and documentation showing a professional approach to art.
Marianne R. Williamson Japanese Water Garden 42 x 53 inches | 2020 Photo by Gregory Case
28
• SAQA Journal • 2021 | No. 2
Sylvia Weir Rock Wall 20 x 30 inches | 2019
Ann Johnston The Contact: Arc Plumes 25 x 73 inches | 2018 Photo by Aaron Jacobson
Judith Quinn Garnett
Correspondence with Hope 48 x 48 inches | 2020 Photo by Sam Garnett
Jill Kerttula Ginkgo 54 x 39 inches | 2019
SAQA Journal • 2021 | No. 2 •
29
Kevin Womack Positive outlook creates artistic opportunities by ZJ Humbach
Kevin Womack’s outlook on life has
top,” he says. “We hung borrowed
earning his Bachelor of Arts degree in
come to define his art. Regardless of
quilting frames in the basement and
computer science at James Madison
the situation, he looks for the good.
layered the backing, batting, and
University in Harrisonburg, Virginia,
No matter how dismal, mundane,
top. We used chalk tied with string
he almost changed his major to art.
or disturbing the setting, he looks
to mark a Baptist Fan quilting pat-
Instead, he took as many elective art
beyond it to find beauty.
tern as we sewed.”
classes as possible, primarily in pho-
Perhaps it goes back to his teenage
Once they finished that quilt,
tography, metals, and jewelry.
years. Womack lost his mother when
Womack decided to cut up some
he was 15 years old. “I learned how
old family clothing and make the
coming to the forefront. Most of
quickly our loved ones could be gone
same pattern for his first quilt,
my training was on mainframes.”
and grew closer to my grandmother.
which included fabrics of all types
He went to work for a direct mail
I didn’t want her knowledge to be
and weights. His grandmother
company where he performed many
gone when she passed, so I asked her
taught him to use her old Morse
different jobs, including operat-
to teach me her skills and our family
sewing machine and to sew 5/8-
ing laser printers, printing presses,
history. We spent most weekends
inch seams—a big departure from
folding equipment, sealing and
together, and she taught me candle-
a quilter’s 1/4-inch standard seam
stamping machines, mail inser-
wicking, cross stitching, and sewing.
allowance. “Needless to say, my
tion machines, and more, as well
While not a quilter, she did help me
seams didn’t match up, and there
as information technology. After
with my first quilting project when I
were a few puckers in that quilt.
almost seventeen years, the own-
was 22.”
The night we finished it, I declared
ers sold the company and Womack
I would never make another quilt,”
found himself out of a job.
Womack’s grandmother inherited
“Personal computers were just
a quilt top that his great-grand-
says Womack. “I went to bed and
mother pieced using family clothing
dreamed of the fabrics and memories
tunity to try to make it as an artist.
and a wonky diagonal half-rectangle
that were held within the family
“I worked at a local quilt shop to sup-
pattern. “My grandmother had
clothing and woke up, excited to
plement my income for seven years
helped at the quilting frames when
start my next quilt!”
until the shop closed. I also quilted
she was a child and knew how to set them up, so we decided to quilt the
30
• SAQA Journal • 2021 | No. 2
Womack’s love for learning and art continued in college. While
It was then that he saw an oppor-
for others on my domestic machine during this time. Additionally, I had
Bed 108 x 108 inches | 2018 Photo by Eleanor McCain Part of the Swaddling to Shroud series Made in collaboration with Eleanor McCain
learned how to dye my own fabrics and was hooked on the process.” Womack once again looked for the good in his situation. He had been teaching classes for the shop and teaching and lecturing on the road, so he concentrated on traveling and
when Covid-19 hit. This [pandemic]
Forest, Virginia, as his studio, but the
teaching. “I now consider ‘traveling
is almost as scary as changing jobs.
official sewing studio is a 10 x 11-foot
educator’ as my official job title.”
There was a risk the first time. Now,
room. There are two 4 x 8-foot insula-
I’m more confident, but the uncer-
tion panels for a design wall, along
hand-dyed items to sell. “As much as
tainty of how long this will last is
with his fabric stash, book storage,
I want to keep all of my fabrics
difficult.” Typically, he rolled with
a Koala sewing machine cabinet, a
Womack also began producing
to use myself, I would need multiple lifetimes to accomplish this, so I decided to start selling them,” recalls Womack. And, since people also need
“
fashions, Womack sells dyeprinted/dye-painted T-shirts and silk scarves. “I usually
I want to tell my story in a way that makes sense to me. I like to explore uncomfortable topics or overlooked objects to reveal their inner beauty.
”
concentrate on T-shirts, since they are my best sellers, and I can typically print both sides of 20
the punches to pay the bills. “I’m
cutting table, and a huge ironing
shirts in a day if I push myself.”
even redesigning websites on a con-
board. “What makes it special is the
tract basis.”
possibility for creation. I have my
Womack’s travel schedule has been
Like many of us, Womack was
fabrics stored in the open, sorted by
was just starting to do more national
sequestered at home. He considers
color, so I am constantly surrounded
work and traveling to the West coast
his entire 1,000-square-foot home in
by inspiration.”
greatly reduced since early 2020. “I
SAQA Journal • 2021 | No. 2 •
31
Womack’s main machine for piecing and quilting is a Baby Lock Quilter’s Choice Professional, a straight-stitch industrial machine with a large harp for easier machine quilting. “I have an old Bernina 1530 for when I need zig-zag or specialty stitching,” says Womack. He also has his grandmother’s Morse sewing machine, his only machine up until about 1999. Part of Womack’s dye studio is in his unfinished basement. “Dye chemicals and tools are stored there, and I have a 4 x 8-foot work table for mixing. When printing, I use a 4 x 8-foot tile board as a monoprint surface and set it up outside,” explains Womack. “Since my dye studio is mostly outside, very little dye or print work goes on from November to April. I have
Tempest 54 x 53 inches | 2018
to maximize my dye time during the warmer months.” Even being a full-time artist, Womack has to find time to create art. “There is a ton of unseen work that takes me away from my time for making. Under normal circumstances, I have to write contracts and lesson plans, make and photograph class samples, keep on top of fabric special orders, plus plan for traveling. Now, there’s even more as I’m learning the ins and outs of Zoom and converting my lesson plans to internet presentations.” Womack uses a variety of techniques, including dyeing, screen printing, soy wax, fabric paints, mark making, and photo manipulation to create his fabrics, which he uses exclusively in his quilts. “I’m endlessly entertained by exploring new color combinations while dyeing and printing fabrics. I have even been known to dye a 25-step pro-
Vines (for Ellsworth)
58 x 42 inches | 2018
32
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gression between two colors, light to dark, for fun.”
He also unapologetically still makes traditional quilts. “Color and pattern continue to intrigue me, and traditional patterns are a natural fit for my continued study of color,” explains Womack. “Although I have learned many embellishment techniques, I rarely add them to my work. I tend to focus on adding visual interest to a piece through composition and color.” While Womack’s quilts often feature traditional piecing, they have a modern feel, as he gravitates toward abstraction. Bed (page 31), which features pieced hexagons, is a perfect example of this. “I want to tell my story in a way that makes sense to me. I like to explore uncomfortable topics or overlooked objects to reveal their inner beauty. I really enjoy exploring the relationship between hard imag-
Network
30 x 34 inches | 2005
ery and the ultimate idea of comfort, the quilt,” says Womack. “I often use abstraction to express non-representational things like emotions, feelings, and ideas. When I am printing fabric, I can play with expressing these topics while I print.” Womack’s favorite quilt is Tempest, which tells a deeply personal and emotional story. “When making the main fabrics for Tempest, I poured my emotions into the process, which was somewhat cathartic. I think the emotions translated very well into the prints. I started with the large pieces of the main fabric and added others from my printed stash to reinforce the theme I had in mind, as well as the color story. I was weathering a time of sadness and anger, my own storm at sea.” Womack tends to work in series, but does not focus on one series at a time. He is currently shifting see “Kevin Womack” on page 37
Kevin Womack screen printing in his dye studio. Photo by Patty Hawkins
SAQA Journal • 2021 | No. 2 •
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SAQA REGIONAL EXHIBITION
Selections from
Midwest Views Midwest Views highlights the extreme contrasts of lifestyles, opinions, and natural beauty captured within the boundaries of Illinois and Wisconsin—no small task given that the vast expanse covered by these two states exceeds 100,000 square miles. The locations of inhabitants are varied, from remote rural areas to densely populated cities. Glacier trails littered with huge boulders disappear into rumbling cities, followed by tumbling flat farmland filled with corn and cattle. A friendly rivalry exists between the two states, pitting the “flatlanders” of Illinois against the “cheese heads” of Wisconsin, but our love of art and freedom of expression brings us together.
Kim Frisk Fly Over
24 x 24 inches | 2020
Midwest Views gathers the inspiration of twentynine SAQA fiber artists who reside within the Illinois & Wisconsin region, and features insights into their lives. Subjects range from vistas of lush landscapes to political pondering about whether the lights should be on or off at Wrigley Field. This 42-piece exhibition was curated by Colleen Ansbaugh and Pat Bishop, who are also the area’s regional reps. Upcoming exhibition venues include: World Quilt New England Springfield, Massachusetts August 12-14, 2021 Pennsylvania National Quilt Extravaganza Oaks, Pennsylvania September 16-19, 2021 The Quilt & Sewing Fest of New Jersey Edison, New Jersey November 17-20, 2021 New Visions Gallery Marshfield, Wisconsin October 22, 2022-January 6, 2023 Note: Live events are subject to change and/or cancellation due to Covid-19 restrictions or other unforeseen circumstances; please contact venues before attending.
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Jody Larson Purkinje
39 x 36 inches | 2020
Lorna Millen Sunflower Girl
44 x 44 inches | 2020
Janet Hiller
Regardless of Prediction 61 x 42 inches | 2019
Al Krueger
Wrigley Field 1981 37 x 45 inches | 2020
SAQA Journal • 2021 | No. 2 •
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Color Choice from page 26
seem soft and indistinct despite having a crisp physical edge, since the shadow is a different piece of fabric.
Conclusion All of these practical approaches will help you create the illusion of reality in your representational scenes and portraits. But here’s one final tip to ensure success in your new role as a fabric magician. When working with very light fabrics, back them with either interfacing or a layer of plain muslin. This double layer prevents underlying material from showing through the lighter fabrics. ■ Kestrel Michaud is a SAQA member who resides in West Melbourne, Florida. You can view her work and read about her classes at www.kestrelmichaud.com.
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Kevin Womack from page 33
between four different series as the mood or an idea strikes. One special series is New Orleans, a place that he visits annually and photographs. “Many of the homes in New Orleans have courtyards surrounded by spiked iron fences. You have to look beyond the fence to see the beauty of the courtyard.” Vines (for Ellsworth) (page 32) is one quilt in the New Orleans series. “In January, you see the leafless dormant vines tangling over the balconies. I was drawn to the sharp lines and imagery when I photographed one such balcony,” Womack says. “I was inspired by Ellsworth Kelly, an artist who cut his pencil drawings into squares and rearranged them. Sometimes I have to take an art cloth and cut it up to see what it can be.” Network (page 33) is another quilt that came to life by cutting up an art cloth. “After cutting a piece of shibori, the squares still retained the feel of the patterning. I inserted strips to add color and sashing, and then bobbin quilted it with a gold metallic thread.” Womack is not a fan of creating work that must fit a specific theme or size for a show. “I make what I’m drawn to make. I want to tell my story with my work and what I’m making doesn’t always fit a pre-selected theme,” says Womack. “I tend to make larger pieces that have more visual impact. The size is usually determined by how much fabric I have or the size of my design wall. … I love to let the piece evolve and tell me what it wants to be. Ideas and themes can materialize while I work.” ■ ZJ Humbach is a freelance writer, quilting and sewing teacher, and professional longarm quilter. She owns and operates Dream Stitcher Quilt Studio in Thornton, Colorado. SAQA Journal • 2021 | No. 2 •
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In Memoriam Surface Design Association
SAQA members Sally Ann Beckman and Shirley MacGregor passed away early this year. We extend our deepest condolences to their friends and families.
Innovation in Fiber, Art, and Design
Join Our Community! Membership Includes: • Exhibition opportunities • Access to grants & awards • Connection to regional groups • Virtual events, panels and talks • Complete digital journal archive
www.surfacedesign.org
Alisa Banks, half, 2014
expressing life’s journeys POSTPONED spirituality
joy healing inspiration peace GRIEF
Dew Descending by Ginnie Hebert
UNTIL 2022
CALL FOR ENTRIES: October 1, 2021-January 10, 2022 2022 EXHIBIT: July 14-24, 2022, in Herndon, VA Our travel exhibits include: Sacred Threads 2019 Travel Exhibit, Eye Contact: Creating a Connection, Backyard Escape: Healing Quilts SPONSORED BY:
www.sacredthreadsquilts.com 38
• SAQA Journal • 2021 | No. 2
Sally Ann Beckman Sally was born in Burlington, Iowa, on January 9, 1956, and passed away on April 17, 2021. She attended elementary and high school in Burlington, graduating in 1974. She earned a Bachelor of Science degree in Nursing from Saint Mary’s College in South Bend, Indiana, and later completed a Master of Science degree in Nursing at Indiana University-Purdue. Her generous nature guided her to a career as a psychiatric nurse. In Iowa City, she held many positions at the University of Iowa Hospitals & Clinics and at Mercy Iowa City, ranging from case manager to psychiatric triage nurse. Sally had a deep appreciation for the arts and was talented in many handcrafts. She also traveled extensively and was always excited to share plans for her next adventure.
Shirley MacGregor Shirley passed away on February 8, 2021, at her winter home in Florida from amyotrophic lateral sclerosis (ALS), often called Lou Gehrig’s Disease. She was an avid traveler, lived in interesting places, rode her bicycle like a 30-year-old, and had a special voice as a quilter and author. Her book titles included Quilting With Manhole Covers—A Treasure Trove of Unique Designs from the Streets of Japan, and Quilting in the Morning Calm: Floral Delights from Ancient Korea. We will miss both of these creative and vital members.
INSPIRED BY
Determination Sandra Bruce
Yayoi
50 x 30 inches | 2019
by N.K. Quan
S
andra Bruce’s Yayoi is a tribute to the distinguished artist Yayoi Kusama. Bruce was inspired by Kusama’s ability to overcome life hurdles—from child abuse, professional thievery, and mental illness—to find success as a worldrenowned sculptor, installation artist, painter, and performance artist. This piece was created as a submission for A Better World, a traveling exhibition of 40 art quilts designed to inspire and educate viewers about heroes—both anonymous and renowned—who better our world. The exhibition was curated by Lyric Montgomery Kinard and Susan Brubaker Knapp. “I think what struck me most about Yayoi Kusama was that, even at 92, and with her history of life troubles, she continues to work as an artist every day, walking from the mental facility she has lived in for 40 years to her studio to make art. I have a family member who has struggled with mental illness, so this aspect of her life hit home.” The quilt features a prominent portrait of the artist, complete with her trademark red hair and beloved polka dots, and includes a sampling of the
forms, shapes, and colors that form her style. Burdened with mental illness as a child, Kusama dealt with her pain by creating art inspired by her hallucinations. “The shapes featured in the quilt come from her sculpture that has tendril-like shapes. I find them fascinating, and thought they would make a good graphic addition to the piece. I gravitate to portraits for the challenge and difficulty. It is the eyes that I love doing the most, and which best express personality.” Despite the fact that her subject was wearing sunglasses, Bruce captured Yayoi’s penetrating eyes by creating them with fabric paint instead of pieced fabric. Bruce worked in commercial illustration and lettering for the advertising industry in San Francisco. “Ten years ago, with the world of advertising changing, I bought a longarm quilting machine with a 14-foot-long table and
basically taught myself how to use it and how to do free-motion quilting. I don’t use patterns or a computer-generated system to execute my quilting. It is all guided by me. I like to say freemotion quilting is like illustration, just with a different tool.” Her drawing and lettering skills are seen in many of her quilts, including Yayoi. Bruce lives and works in Grass Valley, California. ■ N.K. Quan is a Phoenix-based writer and editor. SAQA Journal • 2021 | No. 2 •
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